Illegitimate Power: Bastards in Renaissance DramaManchester University Press, 1994 - 282페이지 In Renaissance drama, the bastard is an extraordinarily powerful and disruptive figure. We have only to think of Caliban or of Edmund to realise the challenge presented by the illegitimate child. Drawing on a wide range of play texts, Alison Findlay shows how illegitimacy encoded and threatened to deconstruct some of the basic tenets of patriarchal rule. She considers bastards as indicators and instigators of crisis in early modern England, reading them in relation to witchcraft, spiritual insecurities and social unrest in family and State. The characters discussed range from demi-devils, unnatural villains and clowns to outstandingly heroic or virtuous types who challenge officially sanctioned ideas of illegitimacy. The final chapter of the book considers bastards in performance; their relationship with theatre spaces and audiences. Illegitimate voices, Findlay argues, can bring about the death of the author/father and open the text as a piece of theatre, challenging accepted notions of authority. |
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27 페이지
... claim to the throne . Neither are the Queens ' words meant simply as insults to wound each other's honour . The slanders work ... claims are neither fully legitimate nor actually illegitimate . The metaphor of covert bastardy in marriage ...
... claim to the throne . Neither are the Queens ' words meant simply as insults to wound each other's honour . The slanders work ... claims are neither fully legitimate nor actually illegitimate . The metaphor of covert bastardy in marriage ...
157 페이지
... claims to gentility , thus reaffirming the purity and legitimacy of their elitist positions . There is a delicate ... claim to noble title cannot be guaranteed abso- lutely . The situation gets more complex when Shirley shifts attention ...
... claims to gentility , thus reaffirming the purity and legitimacy of their elitist positions . There is a delicate ... claim to noble title cannot be guaranteed abso- lutely . The situation gets more complex when Shirley shifts attention ...
202 페이지
... claim . Constance points out that the Kings are ' a counterfeit / Resembling majesty ' ( 3.1.99 ) in a world where ... claims to the throne with the interjections ' Bastards and else ' ( 2.1.276 ) , and ' Some bastards too ' ( 2.1.279 ) ...
... claim . Constance points out that the Kings are ' a counterfeit / Resembling majesty ' ( 3.1.99 ) in a world where ... claims to the throne with the interjections ' Bastards and else ' ( 2.1.276 ) , and ' Some bastards too ' ( 2.1.279 ) ...
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action activities alien Antipater appears argues Arthur audience authority base bastard characters become behaviour birth Birth of Merlin body born brother calls cause child Church claims common constructed court culture dangerous death describes desire devil direct drama effect elements England English evil example father female figure final follow forces gives Hercules hero hierarchy ideas identity illegitimacy illegitimate important inheritance John King language legitimate lines London Lord male marriage means moral mother murder nature opposition Oxford paternity patriarchal performance play plots political popular position present Press references relationship Renaissance represents Richard role ruling says scene seems sexual Shakespeare share shows social society soliloquy speech stage structure subversive suggests tells theatre Thomas thou true University unnatural values vice villain voice witch woman women